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The annual cycle
The songs of the Phagwā festival
49 Phagwā i [Party from Meerzorg, 1967]>

A. Cautāl
I.
kānhā deta musukiyana gārī dhare more sārī.
II.
tuma to ḍhǫṭā nanda lalā ke hama brisabhāna dulārī
III.
kāhu na dāma lage jamunā taṭa, parabhu bīca kare ṭhagahārī
 
dhare more sārī
[p. 101]
IV.
kans ke māra bidhansa karaų sakhi suna lau hāra hamāra
V.
hamahų rāra karaba jamunā para tumhę dekhaba ą̄kha ughārī
 
dhare more sārī
VI.
ranga bhare madamātala gvālina bole bacana samhārī
VII.
duragāprasāda carana raghubara kī däi ke dāna calī brijanārī
 
dhare more sārī
B Jhūmar
I.
mati jāhū kanta paradesa basanta nirāne
II.
lage āma baurana madhukara kunja dikhāne
III.
birchā bhaye patidhāra ṭesa mana māhį phulāne
IV.
bihaga payāna karata apane para
V.
dina dina yaha adhika tapāne
VI.
raho bhavana diladāra bāta itanī suna kānhe
VII.
tuma bina sorahǫ sįgāra kavana hamarau dukha jāne
VIII.
hama birahina khelaba kikare sanga
IX.
piyā tana ko daradiyau nahį jāne
C Ulārā
I.
giradhārī ho lālā choṛa deyo bahiyą̄ miruka jäihaį
II.
sone ravārdār kągana cūrī lāge anamol
III.
dhara bahiyą̄ jhakajhoraį cūrī lāgana phūṭa
IV.
jauna bāta tuma tākyau vā se nāhį̄ bhęṭa
 
chori deyo bahiyą̄...
A
I.
Kṛṣṇa smilingly teases1 (me and) takes hold of my sārī.
II.
- You are the boy of Nanda, the dear one; I am the darling daughter of Vṛṣabhānu.
III.
On the bank of Yamunā it costs (him) nothing2 and lord (i.e. Kṛṣṇa) commits the robbery.3
 
Takes hold...
IV.
(He says:) I (can) kill and destroy Kaṁsa; Sakhi, listen to my statement;
[p. 102]
V.
(He says:) I shall keep noise1 on the Yamunā bank (and) I shall look at you with open eyes.
 
Takes hold...
VI.
The cowherdess full of colour and the frenzy of youth says (this with her) words (chosen) carefully;
VII.
Durgāprasād2 (says:) (I take) refuge at the feet of the best of Raghus (i.e. Rāma); the woman of Vraja3 gave a gift4 and (then) went (her way).
B
I.
Beloved, do not go abroad;5 the spring (season) has come close.
II.
The mango (trees) have begun to blossom, the bumblebees are seen in the groves.
III.
The trees have become leafy (and the) ṭesū flowers are blooming (in their) minds.6
IV.
The birds are starting out on (their) journeys on the wing -
V.
(And) these days are getting warmer daily.
VI.
Oh Kṛṣṇa, listen to just this request;7 O thou with (a generous) heart, stay home;
VII.
Without you (my) sixteen adornments (are futile); who (can) know my suffering?
VIII.
With whom shall I play (when) in separation?8
IX.
(My) beloved knows not at all the pains of (my) body.
C
I.
Oh darling Giridhārī,9 let go (of) my arms; they will get sprained.
[p. 103]
II.
(My) bracelets are (made) with gold finery (and) the bangles look invaluable;
III.
You hold1 and shake my arms (and the) bangles begin to break.
IV.
The matter you are (actually) after would not come to fruition.2 Let go (of) my arms.

1Here gārī can be translated only in this way.
2‘There is no restriction’.
3‘Lawlessness’, ‘lawless behaviour’, in this context.
1‘I shall make trouble’, ‘quarrel’.
2The composer of this song.
3Kṛṣṇa's land of birth.
4Gift of her youth.
5Pardes, any place far away.
6Perhaps, not yet in full bloom.
7Bāt, statement, speech, matter.
8Birahin (S. virahiṇī), a woman in the state of separation from her lover.
9He who holds up (or, held up) a mountain; a reference to Kṛṣṇa's having lifted the Govardhana mountain. Perhaps the epithet is intentionally chosen to compare the softness of the arms with the hardness of the mountains; i.e., ‘this is not a mountain but tender arms; do not hold them so tight’.
1Literally, the third person (‘he holds’) has been used which does not fit.
2Literally, ‘you will not come across it’ or ‘it will not be presented to you’.
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